Saturday, November 13, 2010, Shows start at 8pm

Bio

Sensitive Chaos is

Atlanta Creative Loafing's Best of 2009 Readers Poll Runner-up for "Best Local Electronic Act"

Atlanta Creative Loafing's Best of 2007 Readers Poll Winner for "Best Local Electronic Act"

KKUP (91.5 FM in Cupertino, CA) "Best Visionary Music of 2009 & 2007"

New Age Reporter's "Top 12 Best Ambient/Spacemusic/Electronica Recordings of 2006"

"Full of lengthy, dense, eerie instrumental bliss and a few selections that sound like happy-robot dance music." - Jeff Clark, Stomp And Stammer Magazine

"Another interesting and engaging ride on Jim Combs' blend of New Age, jazz and electronica." - John Shanahan, Hypnagogue

"A really stunning release, VERY well executed." - Darrell Burgan, StillStream.com

http://www.sensitivechaos.com

http://www.myspace.com/jimcombs

tay0 is a name I've used some variant of since 1986 as a conduit for my bedroom studio experiments while I played "real" music in a number of bands. I've done a few remix projects, some production for other artists, and some TV / film work. For the past several years I've been collaborating with other like-minded folks like weaklazyliar, drummer Mitch Sosebee and, recently, steelmaster Stacy Cargal. I also play keyboards and guitar with Atlanta artists Lindsay Rakers and Blair Lott.

Style: abstract expressionist hip-hop, or maybe post-gospel micro-funk

Kit: Moog, Roland and Nord synthesizers, Apple computers, Digidesign and Steinberg software, other random pedals, mixers, microphones and such.

Influences: Brian Eno, John Cage, Bill Laswell, Meat Beat Manifesto, The Orb, Mark Rothko, Thelonious Monk, MMW, DJ Shadow, Eric Satie, George Clinton, NASA, Glenn Gould, Gary Numan, Kraftwerk, Jim O'Rourke, Sonic Youth, Oscar Peterson, Aphex Twin, Jackson Pollock, DJ Logic, Run-DMC, Herbie Hancock

Bio: I discovered elecronic music methods at an early age, becoming fascinated with tape machines, turntables, and unusual guitar approaches as a teenager. Fortunately, my coming of age coincided with the arrival of small, affordable synthesizers and drum machines in the early 1980s. I've spent the time since then trying to reconcile my obsession with electronic forms with my love of roots music, folk forms, funk, jazz, and rock & roll.

Charles Mingus (probably) said that there's only two kinds of music: good and bad. I'll take that a step further and say that there's only two kinds of music: that which makes sound, and that which doesn't. At least with that, I know which kind I'm doing.

http://www.myspace.com/tay0

http://www.jetpackstudios.com/tay0/index.html

Live electronic music with video. Experimental, Glitch-Groove, Ambient Beats, with a Modal Jazz Influence. Simple melodies swirling in mixed tempos and undulating textures. Dense, erotic, complex, emotional, spontaneous.

The ambient and experimental sets are entirely improvised except for transition material between improvisations.

The content of the musical structures (sound design, melodies, harmonies etc) are created from "scratch". In other words no pre-existing audio or MIDI sounds or loops are used in the creation of the music.

The rest of the music is a blend of improvisation and structure and is performed in real-time. The basic musical ideas are built in the studio and then dozens of audio events (or clips) are created for each piece. The audio events are triggered and manipulated via 36 foot switches and 16 faders along with real time synthesis played from an EWI4000S and MIDI keyboard.

Consequently, in performance, the content of each piece of music remains the same but the structure varies each time a piece is played depending on my mood and the environment. This allows me to interact creatively with the audience and have more personal expression.

http://www.drachemusik.com

http://www.myspace.com/drachemusik

Klimchak loves opposites. That may explain why he's played with bands as diverse as disco diva RuPaul and avant hipster Bruce Hampton. "I think of music as a crazy-quilt of different styles and patterns. I'm the thread that holds the whole mess together," says the Atlanta-based composer and percussionist. "I love the clash of colors and opposing patterns. That's where the music comes alive."

On his new solo CD, The Beat and The Buzz, he works the difference between electronic and acoustic music styles. Electrobeat buzzes clash with soulful hand drumming. An urban funk groove explodes into a hoedown of jaw harp and handclaps. Tuvan throat singing provides a sound bed for a flowering samba ensemble featuring the pig-like grunting of the Brazilian Cuica. This could be the loops of sample-hungry turntable collagists and laptop-toting poindexters. But it's not. One of the important qualities of Klimchak's music is that he plays it all himself. "I don't have anything against buying and using samples and loops of other people's music. For what I'm doing it's easier and quicker just to record myself playing the instrument."

Of course that is easy for Klimchak to say, since he owns and plays literally hundreds of instruments. "I've been collecting sound-makers since the late 1970's. When I have some free time, I usually sit down and learn to play a new flute or percussion instrument." It could be an early electronic instrument like the sci-fi staple, the theremin or a low-tech rawhide frame drum from the Middle East. It's all grist for the sound-mill. "In the modern world of Ebay and the internet, locating exotic instruments for cheap and getting instructions on playing them is a lot easier than it used to be."

Klimchak has been working exclusively in this style since the mid-eighties. Between stints with RuPaul, Hampton, and his two bass-vocal-percussion band, Fab Area, he began working on solo works for modern dance and theater. He uses his knowledge of exotic instruments and the sounds they make to provide a live underscore theater productions. Many of his recent works have been at the Georgia Shakespeare Festival. He has written and performed scores for the plays: Othello, Henry IV, Hamlet, Tartuffe, A Midsummer Night's Dream and Cymbeline. In addition, he's done scores for Shakespeare's Coriolanus at Shakespeare Santa Cruz, a live score for No Exit at Le Neon Theater in Washington, DC (nominated for a Helen Hayes Award for best sound design), and a live score for Malinche performed at the Bovenzaal Stadsschouwburg in Amsterdam.

Klimchak's dance work is equally important to his style. His recent work includes scores for Jane Comfort ("Three Bagatelles for the Righteous, excerpt (Election Update 2004)", performed in NYC at the Joyce Theater by Jane Comfort and Co in September) and Jawole Willa Jo Zollar of Urban Bush Women ("Are We Democracy?", performed in November at Emory University's Schwartz Center for the Performing Arts). He regularly composes for faculty and guest choreographers at Emory University.

http://www.myspace.com/klimchak